The New York Times has a nice overview article on a new literary festival launching in Paris later this week, and run in part by Caro Llewellyn who directed the PEN World Voices Festival a few years back:
Paris is reaching out to recapture its place as a center of literature with a new festival of international writers that was set to begin Friday.
“There’s a sense in America that France is a country of culture, but when you are looking from the inside, a lot of people have been complaining that France needs to find its beating heart again,” said Lila Azam Zanganeh, a French-Iranian writer who now lives in New York and is one of the writers participating in the festival, Écrivains du Monde. [. . .]
The Écrivains du Monde festival may not, on its own, recreate the vibrant sense of literary experimentation and adventure of the first half of the 20th century, when Paris was home to the likes of Gertrude Stein, James Joyce, Samuel Beckett and Eugene Ionesco, but it marks a new appreciation of the primacy of international writing, in a country that despite a complex relationship with outsiders, has always embraced their contribution to the arts. [. . .]
The inaugural festival draws together some 28 writers from at least 18 countries. Most are not French themselves, but they have been translated into French and have a French following. The authors, who are speaking for small stipends, include some of the best-known fiction writers at work today: Salman Rushdie, John Banville, Richard Ford, Chimamanda Ngozi Adichie, David Grossman, Ma Jian and Michael Ondaatje. Also attending are several authors who write in French although not all of them are from France, including two from Lebanon and a Canadian-Haitian. The writers, who are coming for three days to Paris, with a few going on to spend two days in Lyon on Sept. 23 and 24, will hold intimate — and sometimes not so intimate — talks with their readers and literary enthusiasts. Panel discussions will take on topics like the challenges of translation, identity and conflict, literature and war.
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .